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Sony Carl Zeiss 24-70mm f/2.8 Zoom Lens

 & Jim Fisher Principal Writer, Cameras

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Sony Carl Zeiss 24-70mm f/2.8 Zoom Lens - Sony Carl Zeiss 24-70mm f/2.8 Zoom Lens
4.0 Excellent

The Bottom Line

The Sony Carl Zeiss 24-70mm f/2.8 Zoom Lens is extremely sharp and has a fixed f/2.8 aperture, but performance comes at a price.
Best Deal£2000

Buy It Now

£2000

Pros & Cons

    • Extremely sharp.
    • Fast f/2.8 aperture.
    • Relatively compact.
    • Full-frame coverage.
    • Very expensive.
    • Heavy.
    • Some distortion.

Sony Carl Zeiss 24-70mm f/2.8 Zoom Lens Specs

Type Lens

The Sony Carl Zeiss 24-70mm f/2.8 Zoom Lens ($1,999.99 direct)($649.99 at Amazon) is the top-end standard angle zoom lens for Alpha cameras. It can be used with full-frame and APS-C bodies alike, and is impeccably sharp throughout its zoom range—but that performance comes at a price. If you're an Alpha shooter and require the best zoom you can get, this is the lens for you, but there are lesser priced alternatives available. We haven't yet tested them, but Sigma has a 24-70mm f/2.8 that is priced at $1,400, and Sony offers a budget 28-75mm f/2.8 for $899.99—but neither bear the legendary Carl Zeiss name.

The lens is fairly squat, measuring 4.4 by 3.25 inches (HD), but hefty at just under 2.2 pounds and uses 77mm filters. It's by no means a macro lens, but its 13.4-inch close focus distance is steady throughout the zoom range, even at 70mm. A lens hood is included, and the front element doesn't rotate when you zoom or focus, so you can use a polarizing filter, but the lens does extend in length as you zoom. Nikon's similar AF-S Nikkor 24-70mm f/2.8G ED weighs about the same, but it juts out further from the front the of the camera—it's 5.2 by 3.3 inches in size.

I used Imatest to measure the sharpness that the lens was able to capture when paired with the full-frame Alpha 99( at Amazon). The lens is better than the 1,800 lines per picture height required to call a photo sharp throughout its zoom range, even at the maximum f/2.8 aperture. At 24mm it notches 2,209 lines, but does soften to 1,806 lines at 50mm and 1,800 lines at 70mm. Stopping down increases sharpness across the board, with the best performance coming at f/8—better than 2,300 lines throughout the range. There is some distortion—1.3 percent barrel distortion at its widest, and 1.3 percent pincushion at the longest zoom setting, which can make straight lines appear to curve in and out, respectively. This can be corrected via software for those instances when it is distracting.

You can't argue with the performance that the Sony Carl Zeiss 24-70mm f/2.8 Zoom Lens delivers, even if its price is out of your reach. You can use it at its maximum aperture and capture sharp images. While heavy, the lens isn't as long as its Nikon counterpart—nor is its price out of line when compared to it, or Canon's top-end 24-70mm optic. If your budget can't handle a $2,000 lens, Sony also offers a $900 24-75mm f/2.8 optic, and Sigma markets a $1,400 24-70mm f/2.8 in the Alpha mount.

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Final Thoughts

Sony Carl Zeiss 24-70mm f/2.8 Zoom Lens - Sony Carl Zeiss 24-70mm f/2.8 Zoom Lens

Sony Carl Zeiss 24-70mm f/2.8 Zoom Lens Review

4.0 Excellent

The Sony Carl Zeiss 24-70mm f/2.8 Zoom Lens is extremely sharp and has a fixed f/2.8 aperture, but performance comes at a price.

Get It Now
Best Deal£2000

Buy It Now

£2000

About Our Expert

Jim Fisher

Jim Fisher

Principal Writer, Cameras

My Experience

Images, and the devices that capture them, are my focus. I've covered cameras at PCMag for the past 14 years, which has given me a front row seat for the changeover from DSLRs to mirrorless cameras, the smartphone camera revolution, and the emergence of drones for aerial imaging. I have extensive experience with every major mirrorless and SLR system, and am also comfortable using point-and-shoot and action cameras. As a Part 107 Certified drone pilot, I’m licensed to fly unmanned aircraft systems (UAS) for commercial and editorial purposes, and am knowledgeable about federal rules and regulations regarding drones.

The Technology I Use

I use all of the major camera systems on a regular basis, swapping between Canon, Fujifilm, L-Mount, Micro Four Thirds, Nikon, and Sony systems. I still find time to use Leica M rangefinders and Pentax SLRs on occasion, too. I keep an iPhone 13 in my pocket for the rare occasions I'm not carrying a camera.

I'm not a brand-specific photographer. For product review photos, I swap between a Canon EOS R5 and a Sony a7R IV. I use Flashpoint and Godox TTL lights and Peak Design tripods, and I most often reach for a Think Tank or Peak Design backpack to carry equipment.

When it comes to computers, I'm an unapologetic Mac person and have been for the past 20 years. I write in Pages and use Numbers for spreadsheets. I currently swap between an Intel i9 MacBook Pro and an Apple Silicon Mac Studio for writing and use a calibrated BenQ 32.5-inch with the Studio for photo and video editing. I rely on a LaCie 6big RAID for media storage. I also keep a PC around for gaming, but please don't tell my Macs about it; they'll get jealous.

I split time between several different software apps depending on the type of editing I'm doing. For Raw image processing, Adobe Photoshop Lightroom Classic is my standard. I pair it with a LoupeDeck CT console to supplement my keyboard and trackpad, and I lean on RNI All Films 5 presets when I want to give an image a film look. I use Apple Final Cut Pro for video editing.

My first digital camera was the Canon PowerShot Elph S200, and my first DSLR was the Pentax *ist DL. I have a soft spot for antique film gear. I still use a 1950 vintage Rolleiflex Automat TLR and love trying mid-century Leica lenses on film and digital alike. I mainly use whatever's in front of me for review for digital snaps, but I pick up either my Leica M Typ 240 or Pentax K-3 III Monochrome when I want to step away from review work. In my downtime, I enjoy bird watching, reading, video games, and both good and bad movies, especially in the sci-fi and horror genres.

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